Carolyn Hughes Movies

This routine wartime drama of bravery and misunderstanding stars (Richard Bakalyan) as Charlie, a soldier who suffers the scorn of his paratroop unit because he accidentally kills one of their own men. The setting is World War II in North Africa, Sicily, and Italy. There seems to be no clear way to square himself with his own conscience, or to right the fatal mistake he made, and so Charlie has to somehow live with the retribution and the tensions his act causes among the other paratroopers. But since everyone is in the same combat situation, he might one day get a chance to redeem himself. Director William Witney made his reputation in action films like this one. ~ Eleanor Mannikka, Rovi

This delightful adaptation of Rafael Sabatini's swashbuckling novel stars Stewart Granger as Andre Moreau, an 18th-century French nobleman who is publicly humiliated by the Marquis de Maynes (Mel Ferrer). Challenged to a sword duel by the Marquis, Andre, who knows nothing about fencing, runs away, taking refuge with a theatrical troupe. He hides behind the personality of Scaramouche, a zany clown, and in his spare time romances his sexy leading lady Lenore (Eleanor Parker). Seeking revenge against de Maynes, Andre takes fencing lessons from swordmaster Doutreval (John Dehner). It isn't long before Andre has developed a reputation as the finest swordsman in France--which, as intended, arouses the ire of de Maynes. The two opponents face off in a deserted theater; the ensuing sword duel, running nearly seven minutes, is one of the best ever committed to film. Before he can plunge his blade into de Maynes, Andre discovers that he and the Marquis are half-brothers. The two men instantly forget their differences, and Andre's honor is fully restored. He ends up not in the arms of the sensuous Lenore but with a woman of his own class, Aline de Gavrillac (Janet Leigh)--while a gag ending reveals that Lenore has found herself a new and highly influential boyfriend. Lewis Stone, star of the 1923 silent version of Scaramouche, appears in the remake in the supporting role of Georges de Valmorin. ~ Hal Erickson, Rovi

While searching for a stolen gold shipment, partners in a stagecoach line attempt to keep crooked ranch hands from stealing their employer's land. ~ Sandra Brennan, Rovi

Cary Grant met his future wife Betsy Drake on the set of the appropriately titled Every Girl Should be Married. Grant plays well-known baby specialist Madison Brown, who is Dr. Spock in everything but name. After a chance meeting with headstrong young Anabel Sins (Drake), poor Brown finds his every move and thought monitored by Anabel, who intends to become his wife come heck or high water. Upset that Brown steadfastly resists her charms, Anabel decides to make him jealous by playing up to her boss Roger Sanford (Franchot Tone). When Brown still won't bite, our plucky heroine mounts a campaign enlisting everybody in town to wear down the doctor's resistance. Nowadays, this is called "stalking"; in 1948, it was called "funny." Produced, directed and written by Don Hartman, Every Girl Should be Married was a box-office winner to the tune of $775,000. ~ Hal Erickson, Rovi

One of the better Roy Rogers vehicles of its period, Home in Oklahoma casts Rogers as a crusading frontier newspaper editor. Forsworn to find the murderers of a prominent cattle rancher, Roy teams up with big-city journalist Connie Edwards (Dale Evans) and grizzled ranch foreman Gabby Whittaker (Gabby Hayes). Following the trail of clues like a Sagebrush Sherlock, Rogers exposes a rival rancher (never mind which one-his identity is obvious to seasoned mystery fans) as the culprit. Musical highlights include Roy and Dale's rendition of the novelty tune "Miguelito." Chalk up another winner for the star-director team of Roy Rogers and William Witney. ~ Hal Erickson, Rovi

Blondie Knows Best was writer/director Edward Bernds' first entry in the long-running "Blondie" series, and arguably his funniest. The story contrives to have Dagwood Bumstead (Arthur Lake) pose as his boss Mr. Dithers (Jonathan Hale) so that a big business deal can be consummated while Dithers avoids nearsighted process server Jim Gray (Shemp Howard). The upshot of all this is that Dagwood ends up in a lunatic asylum, forcing Blondie (Penny Singleton) to come to the rescue. Ed Bernds was a big fan of comedian Shemp Howard (whom he'd directed in several Columbia 2-reelers) and accordingly he gives Shemp free reign in his scenes, resulting in some hystericially funny moments. Blondie Knows Best represented Jonathan Hale's farewell to the series; in the next entry, Blondie's Big Moment, he would be replaced by Jerome Cowan as Mr. Radcliffe. ~ Hal Erickson, Rovi

Charlie Chan (Sidney Toler) heads south of the border in this so-so series entry. With the help of Mexican police official Luis (Fortunio Bonanova), Chan looks high and low for a stolen atomic-bomb formula. The oriental detective is also "aided" by his son Tommy (Benson Fong) and his chauffeur Chattanooga (Willie Best, subbing for Mantan Moreland) two of the most inept assistants in the history of the movies. The gimmick in this film is a mysterious murder weapon which seemingly disappears from the face of the earth the moment it has been used. Though more expensive looking than most of Monogram's Charlie Chan films, The Red Dragon isn't one of the series' more exciting efforts. ~ Hal Erickson, Rovi

One of the screen's favorite tough blondes, the delightful Veda Ann Borg, stole the show in this low-budget serial produced by Sam Katzman for Columbia Pictures. Although star-billed (with leading man Kane Richmond and comic relief Eddie Quillan), Veda was the serial's villainess, making life difficult for placid little Janet Shaw, the nominal heroine. The sarcastic Borg played the alluring accomplice of nasty Jake Regan (Western bad man Charles King), a typical serial rotter who will leave no stone unturned in his search for a priceless African treasure. Having kidnapped Dr. Reed (Budd Buster), the villains have to deal with the man's daughter (Shaw) and her gallant boyfriend, Bob Moore (Richmond). Things get complicated when Zara (Carol Hughes), the beautiful High Priestess, sides with Regan, but, as always, justice prevails in the 15th, and final, chapter, "The Jewels of Arzac." ~ Hans J. Wollstein, Rovi

Yes, even Ida Lupino occasionally starred in screwball comedies during the 1930s and 1940s. Pillow to Post casts Lupino as free-spirited travelling saleswoman Jane Howard, who has trouble finding suitable lodgings during the wartime housing shortage. In order to secure a room at a motor camp catering exclusively to married servicemen, Jane pretends to be the wife of hapless young lieutenant Don Mallory (William Prince). Misunderstanding piles upon misunderstanding, and before long poor Mallory is facing a general court-martial. While Lupino pushes the envelope a bit in the leading role, the film's comedy content is also in the capable hands of Sidney Greenstreet, Stu Erwin and Willie Best. Pillow to Post is adapted from a stage play by Rose Simon Kohn. ~ Hal Erickson, Rovi

My Son, the Hero was a rare comedy from the PRC studio mills-and rarer still, it was directed by melodrama specialist Edgar G. Ulmer. Roscoe Karns plays a third-rate fight manager misleadingly known as Big Time. Justifiably proud of his war-correspondent son Michael (Joseph Allen Jr.), Big Time tries to measure up to his son's accomplishments by writing letters to the boy, claiming to be a wealthy businessman. When Michael comes home on furlough, Big Time panics, worrying that he'll be exposed as a fraud. But he hasn't taken into consideration his golden-hearted ex-wife Gerty (Patsy Kelly) and punchdrunk prizefighter Kid Slug (Maxie Rosenbloom), who help Big Time come off as a hero in the eyes of his son. My Son, the Hero represented Patsy Kelly's last film appearance until her comeback role in Please Don't Eat the Daisies (1960). ~ Hal Erickson, Rovi

Ann Miller goes through her usual twinkle-toed paces in the quickie Columbia musical What's Buzzin', Cousin? The pencil-thin plotline involves attorney Jimmie Ross (John Hubbard), who moonlights as a singer with the Freddie Martin Orchestra. Using his legal and showbiz know-how, Jimmie revitalizes a broken-down hotel owned by Ann Crawford (Ann Miller) and her family. Musical highlights include Freddie Martin's swing rendition of Liszt's second Hungarian Rhapsody, and Ann Miller's terpsichorial interpretation of the bond-rally standard "18.75." Were it not for the presence of Miller and Martin, What's Buzzin' Cousin? would be utterly forgettable. ~ Hal Erickson, Rovi

The attractive physiques of Tom Neal and Carol Hughes are generously displayed in the PRC comedy The Miracle Kid. Neal is cast as Jimmy, a young boxer who surprisingly wins a bout with the established champ. The loser claims that he was "jinxed" by Jimmy in the ring, whereupon Our Hero is exploited by a group of health faddists adhering to the philosophy of "mind over matter". Jimmy is subsequently pitted against several "bums" so that the health nuts can prove the vercity of their theories, but in the end he proves that the "secret" to his success lies in his fists and not his subconscious. Carol Hughes costars as Jimmy's sweetheart Pat, who shows up at one point in a form-fitting bathing suit for no reason other than to satisfy the red-blooded males in the audience. ~ Hal Erickson, Rovi